07 March 2024, Volume 23 Issue 1

  

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  2024, 23(1): 5-28.

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  Why is Chinese Aesthetics Possible?

  2024, 23(1): 29-40.

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  To clarify the statement that Chinese aesthetics is the aesthetics category with Chinese features, it is necessary to distinguish the concepts of term and discourse within the framework of inter cultural aesthetics. On the one hand, terminology is different from discourse. From the perspective of terminology, aesthetics has no distinction between China and the West, and aesthetics terms can get through the intercultural travel, achieving the mutual translation and interpretation between Chinese and western culture. Therefore, Chinese aesthetics belongs to the aesthetics category. On the other hand, discourse is the contextual expression of terminology, which cannot be separated from terminology. From perspective of discursive meaning, Chinese aesthetics is the discourse expression of Chinese aesthetics experience and emotional mode with the assistance of western terminology. Instead of the localization of western aesthetics, it rationally reflects Chinese nation′ s pursuit of beauty. Therefore, Chinese aesthetics is featured with Chinese characteristics. In short, intercultural aesthetics makes it possible that Chinese aesthetics is both Chinese-featured and aesthetics, which is also the essence of Chinese aesthetics.
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  The Third Path to the Construction of Contemporary Chinese Aesthetics in the Posttheoretical Era

  2024, 23(1): 41-56.

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  Practice aesthetics emphasizes practical activities centered around material production, while post-practice aesthetics takes a ″de-practice″ strategy. Practice aesthetics and post-practice aesthetics share the same understanding for practice, that is to say, they both have a non-philosophical, sociological, and historical scientific understanding of practice. The practical turn of the contemporary philosophy and aesthetics in the West has raised the big question how the aesthetic could be regarded as a practice. The aesthetic could be a form of practice, not from the perspective of practice aesthetics and post-practice aesthetics, but rather a pre-reflective phenomenological praxis rooted in the primordial life world. ″Chao-praxis″ is not de-practice, but returning to a pre-reflective primordial praxis, where the subject and object are not separated. ″Chao-praxis aesthetics″ is established on the basis of a brand new ″ Chao-praxis″ notion, It is a new aesthetic paradigm emerging in the construction of contemporary Chinese aesthetics in the post-theoretical era, and it provides the third path for contemporary Chinese aesthetics research.
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  Splendid Manifestation of ″Wu se″: The Spiritual Light in Ganxing Aesthetics

  2024, 23(1): 57-72.

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  ″Wu se″ ( the sensuous colors of the physical world) , a basic category of Chinese Ganxing Aesthetics, was originally raised by Liu Hsieh. It is not only the source of ″Ganwu ( sensed externalities) ″, ″Ganxing ( aesthetic sensation of emotions) ″ and ″Bixing( aesthetic comparison and metaphor) ″in Chinese classical aesthetics, but also an important foundation for the creation of ″Yixiang ( imagery) ″,″Qixiang ( prevailing features) ″ and ″Yijing ( aesthetic conception) ″ in classical art. Although the theory of Wu se is a necessary way to study Chinese classical aesthetics, especially Ganxing aesthetics, the re search on it is relatively weak. The aesthetic category of ″Wu se″ has formed a continuous academic genealogy in the history of Chinese aesthetics. The philosophical foundation of the aesthetic category of ″Wu se″ is the ancient Chinese philosophy of Qi theory and the philosophy of Qi perception. ″Wu se″ not only reflects the sensibility of cosmic energy and spirit of heaven and earth in the sound, color, appearance, light and shadow of natural objects, but also vividly presents the light of human virtue and free spirit. Wu se has become the brilliant manifestation of spiritual light of Chinese aesthetics. Wu se theory of aesthetics enjoys the same importance with the western aesthetics of natural beauty theory, formal beauty theory, aesthetic sensibility theory, splendid sensibility theory, the realm of existence theory, as well as the spirit of German classical aesthetics and the spirit of Marxist aesthetics. The aesthetic category of Wu se has important contemporary significance and universal value, and is worthy of systematic research and modern interpretation.
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  Art as Enlightenment, Witness and Redemption: Adorno′s Aesthetic Theory Revisited

  2024, 23(1): 73-82.

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  The study of Adorno′s aesthetic theory is crucial in Adorno studies. Adorno′s aesthetic theory not only runs through his academic career, but also has a significant impact on his philosophical research. As a product of Enlightenment reflection, Adorno′s aesthetic thought regards art as a new form of Enlightenment and carries the responsibility of revitalizing aesthetics. Through the interpretation of the concepts of artistic rationality, artistic sociality, and through conceptual explanations such as artistic rationality, artistic sociality, and artistic truth content, Adorno endowed art with functions such as reproducing suffering, criticizing society, and recognizing society, while also revealing the roots and secrets of artistic witness. The theoretical and practical significance of Adorno′s aesthetic thought lies in the follow ing: on the one hand, as a cognitive view of aesthetics, Adorno′ s aesthetic thought realizes a break through and transcends the modern disciplinary view of aesthetics on the basis of the continuation and development of Aristotle′s theory of the pleasure of tragedy, and marks the gradual transformation of Adorno′s view of art and literature in the post-Auschwitz period; on the other hand, through the emphasis on art′s witnessing and reproducing of social suffering, as well as aesthetic empathy, Adorno gave art the heavy responsibility of enlightenment and redemption. In view of Adorno′s suspicion of practice, his aesthetic thought about art as enlightenment, witness and redemption is destined to be only a theoretical assumption.
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  Subject, Time and Space: A Study of the Becoming of New Media Literature and Art

  2024, 23(1): 83-94.

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  In order to further reveal the socio historical context of new media literary production and its technical logic, Deleuze′s theory of ″Becoming″ is used as a starting point for the study of the intentional structure of new media technologies and for exploring the subject, time and space that constitute the basic anchor points of the domain of new media literary production. The new media literary ″becoming″ reveals three aspects. Firstly, the subjects in the new media literary production domain have become intersubjectivity of human-computer, forming a collaborative human-computer production. Secondly, time is born as constellation time and discussed in terms of the enhancement of time productivity, the development of in - between time, and the exit of time depth consciousness. Thirdly, nomadic space proliferates spatial productivity through the conquest of physical space, the fusion of different spaces and the creation of heterogeneous spaces, providing a practice site for technological art and transmedia storytelling.
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  Cultural Logic and Interpretation Path of New Media Literature Reading

  2024, 23(1): 95-106.

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  Since the birth of internet literature, the academic community has constructed three cultural logics for reading new media literature: modernity, postmodernism and digital modernism based on social conditions, media characteristics and textual content. The modernity of cultural logic is determined by the social reality of a country moving towards modernization, but the postmodernity of its reading is clearly evident in internet literature. The internet media has brought postmodern cultural logic of reading and writing, but has been criticized from a modernist perspective. Digimodernism distinguishes internet media from internet literature, advocates for the new modernity of text content and its themes, and falls into the internal contradictions of media literary theory. They have such shortcomings as the dilemma of literary content and themes, the one-sidedness of media as intermediary and the excessive emphasis on language texts. To grasp the cultural logic of new media literature reading, it is necessary to return to the original meaning of postmodernism and recognize that new media literature reading is built on an operational, diversified and generated interface. It has the characteristics of ″virtual postmodernism″ in terms of readers, reading texts, and aesthetic effects. The reading of new media literature reflects the paradigm transformation and hermeneutic significance of reading culture.
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  Background of Media Integration

  2024, 23(1): 107-117.

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  The media communication of literature and art is not only a process of technology integration, but also a process of continuous evolution of integrated culture. Blended media has the potential logic of technical aesthetics. Starting from the research path of ″media language technical reality media narrative technical aesthetics″, we can find its deep impact and influence on people′s way of thinking by examining the language characteristics of mixed media brought by database and interface navigation. Then, by observing the literature and art of media integration in the cultural form, we can explore the internal operating logic of media integration language, and thus outline the aesthetic structure and spatial structure of media integration aesthetics. In this new change of aesthetic architecture, the media database is the ″brain″ center for storing information, and its participation makes ″composite reality″ the main way to present the future realistic landscape; ″combined narrative″ has become the main form of information content transmission in the media network, which has the characteristics of time and space flexibility and elasticity; visual fusion and spatial aesthetics penetrate each other, and then the characteristics of media aesthetics are constructed.
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  ″The Heshuo Road of Tang Poetry″:Also on Literary Landscape and Literary Geographical Imagery

  2024, 23(1): 118-128.

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  The richness of Chinese culture in terms of region and place determines that there must be ″The Road of Tang Poetry″ with different styles and values in different parts of the country. The north south road at the eastern foot of the Taihang Mountains and the road to the northeastern border at the southern foot of the Yan Mountains, centering on Youzhou, constitute the ″The Heshuo Road of Tang Poetry″, which has its own advantages and distinctive regional cultural characteristics. The Heshuo poetry road has a large number of densely distributed poets′ traces and creations, literary landscapes and literary geographical imagery, and links such cultural families as Boling Cui, Fangyang Lu and Zhao County Li, making it one of the most important poetry roads. The generous and tragic style of Heshuo injected the spirit of chastity and independence into Tang Poetry, and promoted the intermingling of northern and southern literary styles and the arrival of the climax of Tang Poetry.
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  Collective Memory and Historical Restatement:On LeftWing Writers′ Memories of LeftWing Literature

  2024, 23(1): 129-139.

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  Left-Wing writers have magnificent memories of ″Left Wing literature″, and form profound cultural landscape implications that cannot be ignored in modern China. They have a strong intention to reconstruct history. This reconstructing intention interacts so closely with political ecology and social reality that it can serve as a typical sample of the ″memory turn″. The Left-Wing writers, through the narration of their personal history, the ″ Left Alliance″ history and the Left-Wing literature history, have achieved various intentions such as image reshaping, identity recognition, history reconstruction, tradition continuation and so on, fully reflecting the close relationship between discourse production and ideology. The Left-Wing writers′ memories on ″Left-Wing literature″ are highly dependent on social framework, and exhibit obvious ″collective memory″ feature, deeply imprinted with social oriented thought and mainstream ideology. But ″individual memory″ often escapes from ″social framework″, brings out shock and fighting on collective memory, and gives Left-Wing writers′ memories a delicate tension. However, in any case, the memories of Left-Wing writers′ ″Left-Wing literature″ have largely reconstructed the history of modern Chinese literature and deeply influenced our understanding of Left-Wing literature.
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  A Study on the Cross Media Generation of the Poetics of ″Childhood Trauma″

  2024, 23(1): 140-151.

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  The ″Childhood Trauma″ cartoons feature unconventional but novel aesthetic qualities, which can cause fear of children audience through images, soundtracks and plots. After many years, the post80s and post90s audience have transferred these works from TV screen to video websites with the bulletscreen function, and reconstructed the childhood visual experience with the rebellious attitude and deconstruction language of the online youth subculture to dispel the childhood fears, and the survival anxiety of youth in real life is temporarily released. Hence the rich connotations of the poetics of ″Childhood Trauma″ generates. From the perspective of visual pollution, the audio visual forms of some ″Childhood Trauma″ cartoons do not accord with children′s aesthetic preference and cognitive level, resulting in negative physical and mental distress of them. To avoid the visual pollution of cartoons for children, we not only need production, dissemination, and supervision to better play their roles, but also need the audience to develop a pair of pure and educated eyes for themselves.
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  ″Words″ and ″Objects″ Beyond Landscape:Triple Interpretation of Landscape in Contemporary Chinese Movies

  2024, 23(1): 152-163.

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  The discussion of landscape in contemporary Chinese cinema is often carried out from the aesthetic artistic conception level of ″expressing feelings on the landscape″, which obviously fails to ad dress the cultural practice, visual criticism and other aspects of landscape. The analysis of ″landscape and film″ at different levels found that a certain research system has not yet formed. It undertakes multiple discourse practices in contemporary Chinese films. The scenery in the image is not only the presentation of ″things″, but also the direction of ″words″. There are three interpretations of landscape in contemporary films and their interactive relationships: as a ″word″, the landscape is intended to explore the relationship between the image itself and the subject metaphor from the perspective of the ″scene″ endowed with the subjective consciousness, symbolic meaning, and material characteristics of ″primordial Earth″; as the scenery of ″objects″, the connection between man and the ″world″ is confirmed by outlining the image of ″appliances real″ objects; finally, the ″truth scenery″, which transcends ″words and things″, endows ″catalyst″ to ″ I″ and ″ world″, which is ″ open context″ and imaginative signifier. The landscape spreads over the image expression and cultural interrogation beyond ″words″ and ″objects″ in the two way dimension of the limited screen frame and the infinite extended space.
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  Marketoriented Cantonese Opera Films:Influence of MovieWatching Motivation on Audiences′ Willingness to Understand Cantonese Opera Culture

  2024, 23(1): 164-172.

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  As a cross media art form, Cantonese opera film naturally bears the responsibility of promoting traditional opera culture, and facing the market is the main challenge to play its role. This paper attempts to construct a model of Cantonese opera film audience′s willingness to understand Cantonese op era culture, and provide a reference for Cantonese opera films to respond to market expectations. The willingness to watch movies has a significant positive impact on the willingness to understand Cantonese opera culture. Extrinsic motivation has no significant effect on the willingness to watch movies, but has a significant impact on the willingness to understand Cantonese opera culture. Among the intrinsic motivations, self-presentation has a significant impact on the willingness to watch movies, but it has no significant impact on the willingness to understand Cantonese opera culture, while IP familiarity has a significant impact on both. The willingness to watch movies does not play a mediating role between external motivation and the willingness to understand Cantonese opera culture, having a complete mediating effect between self-presentation and understanding of Cantonese opera culture and a partial intermediate effect between IP familiarity and understanding Cantonese opera culture.
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  A Compromised Good Life: Work and Affect among Urban MiddleClass Youth

  2024, 23(1): 173-183.

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  In recent years, with the intensified employment pressures and the normalization of precarious living conditions, urban middle class youth are urgently seeking stability amid fragility and insecurity, giving rise to the emergence of new emotional adaptation mechanisms. The motivational focus on″striving″ is no longer adequate to incite the younger generation to actively invest their emotions in productive and reproductive activities. Beyond the discourse of ″resistance and incorporation, ″ the new middleclass youth are reorienting their emotional investments towards smaller and more controllable life goals. Such phenomena as ″civil servant fever, ″ engagement in light physical labor, and the act of pre tending to work post-layoff indicate that as traditional aspirations for a good middleclass life further re cede, they are crafting a compromised vision of the good life to adapt to and navigate the highly precarious and uncertain socioeconomic environment.
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  Philosophical Thinking of Living Will: Based on the Perspective of ″Attitude″

  2024, 23(1): 184-192.

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  China′s first local law of living will has been formally implemented, and the research on living will must be more prudent and strict. The ″attitude″ existing in the game of life and dignity deter mines whether living will really land. In living will, the internal contradiction between reactive attitude and objective attitude is difficult to eliminate. Informed consent faces the challenge of family attitude, and individual cognition may even lead to the non-autonomy of autonomous attitude. Starting from the establishment and launch of living will, we can improve the internal path of living will system on the basis of solving the internal attitude contradiction, while the improvement of external path should try to eliminate the multiple effects of family, hospital and social attitudes on living will.